Sitcom

One of the silliest, most ludicrous new sitcoms from the last few years is finally back on our screens; Greg Davies writes and stars in the highly anticipated second series of Man Down.

Davies and his costars Roisin Conaty and Mike Wozniak make a perfect comedy trio, with Dan’s hopeless communication skills, Jo’s fearlessness and general ineptitude and Brian’s constant moaning and criticisms creating a diverse and integrated unit. I don’t think anyone is sure why these three are friends, but the consequential dramas are priceless. Roisin Conaty’s character of Jo in particular is a favourite of mine. She’s brash, idiotic and absolutely hilarious; always plotting schemes which often involve her pursuit to get a decent job, or any job for that matter, which she is hopeless at. Man Down is a glorious combination of a group of painfully ordinary people, in their truest sense, with the strangest of circumstances.

Young actors Madeleine Harris (Paddington) and Alfie Davis are fantastic in their roles as ‘know-it-all’ and ‘angry kid’ respectively, and are consistently given a platform by Greg Davies to be the stars of the scene, which shows considerate comedy writing and reflects Davies’ compassionate character. The presence of the kids allows Greg’s childish side to come to the forefront, therefore accentuating the brilliant ridiculousness of each episode’s plot, and ridiculousness is always guaranteed with this manic comedy presence.

A new character has also joined the group: Dan’s over-involved Aunt Nesta (Stephanie Cole). This new arrival seems to provide company for Dan’s widowed mother (Gwyneth Powell) but that doesn’t mean she feels the need to stop doing his washing for him, or generally interfering in every aspect of his life. The onscreen relationship between Daniel and his mum is hilarious, partly due to the height difference, but also the fact that Davies often refers to her as “old woman”.

Many worried that the death of comedy royalty Rik Mayall, who played Dan’s father in series one, in June last year would signal the demise of Man Down, because perhaps no ‘replacement’ as such for Rik could ever be sufficient. Filming was set to begin in August and it looked unclear to viewers where the programme was set to go from here. But with a writing crew and cast as skilled as this, it soon became clear that not only was Man Down still going to continue, but the spirit of Rik Mayall was to live on in the show also. Greg Davies’ comedy, much like Mayall’s, is known for being silly and widely accessible, so it is impossible not to be reminded of Rik while seeing Greg mincing up and down the exam hall, playing a game of ‘Snorkel Parka’ or buying Flumps in a supermarket.

Dan may be absolutely hopeless, but I’d have loved for Greg Davies to be my teacher, even if it was just for the chance to go bike riding down dangerously steep hills rather than doing any work.

Raised By Wolves is a brand new, refreshingly unyielding sitcom written by Caroline and Caitlin Moran. It follows a loud, predominantly-female family, which reflects the upbringing the Moran sisters had (described in detail in Caitlin’s best-selling book, How to be a Woman). A twist, however, is that the programme is set in the present day, rather than the Eighties. The essence of Caz and Caitlin’s teenage years is reflected in the characters of Germaine and Aretha who are played by Helen Monks and Alexa Davies. These two ladies truly are a match made in television heaven; their conversations are cripplingly funny and their personalities are near-polar opposites.

The girls are very intelligent, which immediately challenges the prejudices Caitlin (I can only talk for her, rather than both sisters, because I have read her book) no doubt faced growing up in Wolverhampton. It is also reminiscent of the way many young people feel they are interpreted by people from outside the Midlands, whether that is down to our accent, or the areas in which we may live. In this sense, Raised by Wolves has the potential to be revolutionary and as a Midlands teenager myself, it is encouraging to hear the accent used in a non-derogatory way for once, in a way that doesn’t suggest stupidity.

Channel 4

The kids’ mother, Della, is played by Rebekah Staton who approaches the role with brilliant sarcasm and brutal honesty. With helpful, yet somehow aggressive, motherly advice like: “Germaine, you’ve got the posture of a victim- sort it out,” the character of Della acts as a sort of moral device for the entire programme. Della holds all of the wisdom.

Some critics have accused the Moran sisters of being arrogant in suggesting that this is the only sitcom on television with a mainly female cast, but I think that accusation is ludicrous, not least because they haven’t once implied this. Rather than worrying about whether there are any programmes of this sort, we should be asking ourselves whether there are enough. To criticise Raised By Wolves for being, at the end of the day, unnecessarily feminist sounds like just the thing an oblivious misogynist might say.

The resultant message is that this sitcom is needed more than ever. Not only is this programme bitterly funny, but it also implies something far more poignant beneath the surface. I eagerly anticipate another series.

Reeves and Mortimer mature like a fine wine. They somehow manage to out-do themselves with every programme they create, and building on the foundations of shows like Big Night Out and Shooting Stars, that truly is some feat. Series one of House of Fools was a comical violation of the senses, in the most enjoyable way imaginable. A fool would assume it couldn’t get any better. But it has.

This second series has shown the group really cement themselves as a unit, if a rather dysfunctional one, which gives the comedy so much more meaning and vigour, and the addition of Julie’s Bistro downstairs provides an interesting new dynamic. Rachel, Erik’s straight-talking Norwegian girlfriend, is a new character and is played by Ellie White. She fits into the group effortlessly and the possibility of Rachel just becoming a reflection of Erik’s character is successfully avoided, as she is the centre point of jokes from her very first appearance (such as her fear of non-flat things, which Bob inadvertently brings to the surface).

BBC/Christopher Baines

Dan Skinner continues to bring elements of his hysterically funny stand up character Angelos Epithemiou to his performance as Vic’s younger brother, Bosh, and similarly, Matt Berry approaches the character of Beef in his typical smooth-voiced and flamboyant style. These talented actors have certainly worked out who they are in terms of performance and this is expertly picked up on by Reeves and Mortimer in the character development and sharp script writing. And then we have Julie. Julie is absolutely magnificent. She is bewildering, extravagant and outrageous yet has the depth of a wholly decent character at the same time. Morgana Robinson’s performances truly are a sight to behold, with her enthusiastic slapstick and unpredictable line delivery, particularly regarding her temporarily tiny hands.

From the strange interpretations of celebrities like Bruce Forsyth and Alistair McGowan, to the arrival of The Butcher Boys, a dance trio made up of Tom Davis, Tony Way and Romesh Ranganathan, to the appearances of Sally Phillips, Simon Farnaby and Rufus Jones, amongst others, it can’t be denied that this programme is diverse. As well as the new energy in the cast, the fact House of Fools is recorded in front of a live audience adds something extra special to the performance, especially as they are seen at the beginning and end of episodes when the camera pans out. Fans of Vic and Bob do not sound like your average laughter track; they are boisterous, enthusiastic and clearly having a bloody enjoyable time. This homemade feel is enhanced by the decision not to remove the frequent corpses and mistakes made by the cast, which often highlight how preposterous the plot is and remind us that a great deal of the script is semi-improvised.

BBC/Christopher Baines

House of Fools is a microcosm of insanity and childishness. When Beef announces that his black cape is “made of the nighttime,” nobody bats an eyelid. When Vic proposes to save Bob’s underwear from a giant moth by shooting it dead, Bob dismissively sighs: “Vic, I don’t want my panties covered in shot.” It always has been and always will be an absolute joy watching these two fantastic comedy minds working together, and seeing them have so much fun in the process. Vic and Bob have unlocked a door to a phenomenally wacky and unsettlingly funny parallel universe, and I want to stay there forever.

Uncle, starring Nick Helm, is back and stronger than ever, with a new set of relationship, career and general life problems awaiting the uncle in question, Andy.

Admittedly, Uncle is not what it used to be, but that doesn’t mean it is anything less than the comedy it began its life as. Errol (Elliot Spencer-Gillott) has grown up considerably and is now thirteen, so less of the adorably nerdy kid he used to be and more of an awkward and self-conscious teen. Though this has been used by others to criticise, I don’t think the fact that Errol is older lessens the comedic value of the programme, but rather, it moves the sitcom onwards to a new place. In this way, series two of Uncle has shown us that here we have a naturally evolving comedy that doesn’t feel manufactured or forced.

Nick Helm and Esther Smith (Cuckoo)make a wonderful pairing and I’d love to see them create something else together, perhaps a pilot of their iPlayer comedy short, Elephant. In addition, Daisy Haggard plays Errol’s well-meaning but hopelessly self-centred mother which enables an interesting brother-sister dynamic between herself and Andy as well as her slightly dysfunctional mother-son relationship with Errol.

Photo: BBC/Chris Brock

The denouement of each episode is usually accompanied by an emotional, and often very funny, ballad which allows Helm himself to bring, in his words, “a little bit of creative input” to the proceedings. These songs are admirable in their own right and showcase this comedian’s undeniable musical talent, providing an interesting interlude from the full narrative.

Uncle is an endearing sitcom with likeable characters and a hugely talented cast. It’s a slow-burner, which only increases its impact, making it one of the most enjoyable sitcoms I’ve seen for a while. Before watching the final episode of this series, I would have told you that I couldn’t see much scope for development within a third series, but I have been well and truly swayed. There is still so much space for plot and character relationship growth, and I am excited for the potential of Uncle‘s return. But regardless of whether a third series is made, I rest assured that the stars of this programme will shine through in any further projects they undertake. In particular, I look forward to seeing what future productions Elliot Spencer-Gillott gets involved in as he has shown himself to be a great and exuberant young comedic actor.

The beginning of a new year saw the return of a much-loved sitcom to our screens: Count Arthur Strong, a television adaptation of Steve Delaney’s long-running radio show. Despite only watching a few episodes of series one, I really did enjoy watching the entirety of it this time round.

What appeals to me about this programme is that there is always an unexpected twist to the plot of each episode, which makes it entertaining viewing despite following the seemingly well-trodden path of the popular sitcom. The storylines are never too airy or ridiculous because the show has a continuous plot, with ideas carried on throughout the series, which seems to give the whole programme a reason for existing; the stories never become entirely redundant.

With Delaney having teamed up with one of my favourite comedy writers, Graham Linehan, this show was probably destined to have a hilarious script. They skilfully build the hilarity and stupidity of the situations Michael and Arthur get themselves into, but never rely on laughs that are that bit too easy. These writers have proved that they’d rather go the long way round, and have created a more effective comedy as a result.

There have been criticisms of Count Arthur Strong and I hadn’t fully invested in it from the beginning so was anticipating that I would not enjoy this series. However, my doubts were unfounded because I laughed throughout every single episode, because of Arthur’s lines like “all work and no play makes Jack… and Jill went up the hill…” and his overall persona. I felt no hint of cynicism at all.

This programme is a thoroughly enjoyable piece of comedy thanks to Steve Delaney and Rory Kinnear’s wonderful on-screen relationship and a fantastic script. I look forward to a third series if and when it comes.

Rob Delaney and Sharon Horgan have written and starred in a hilarious new Channel 4 sitcom about a couple expecting a baby despite only knowing each other for a few months. Here we have a comedy that is truly innovative; it is upbeat, contemporary and bold.

Doll & Em-like in its tone, Catastrophe is one of those programmes that warms the heart as well as making you laugh, which is a wonderful quality to have. Rob and Sharon’s onscreen relationship is endearing and it is a joy to watch the characters blossom into a well-rounded comedy unit. The episodes build in tension as Sharon and Rob and their various family members and friends often miscommunicate and keep things from each other, but the reactions of the characters are never what we expect. The typical format is entirely reversed.

Sharon Horgan brings her charming personality to the character of Sharon, effortlessly slipping into a much darker humour throughout which is a fiendish delight (like muttering “I hope he hits her” when the pair encounter a young arguing couple). Rob’s character borders on socially inept in some respects which, paired with his almost-freakish height (note his constant ducking through door frames) means he frequently looks and presents himself as comically awkward, but not slapstick, which is skilfully avoided.

Photo: Tim Bret Day

The incredible Carrie Fisher stars in a smaller role as Rob’s straight-talking American mother, along with the actresses very own dog (who is, by the way, brilliantly named Gary Fisher). Catastrophe has an excellent cast that fit together well, with Mark Bonnar and Ashley Jensen playing interesting and often antagonistic roles that create a hilarious dynamic. The show also picks up on many awkward communication difficulties faced within families, which adds to the personal feel of the programme as a whole.

I adored watching the first series of Catastrophe and the critical response has been incredibly promising. I’m confident that the second series will be even better than the first and look forward to watching the characters develop and their relationships evolve.

Crims is a sitcom about Welsh nice guy Luke, played by stand up Elis James, who is unfairly sentenced to two years in a young offenders institution as a result of his moronic friend (the brother of Luke’s girlfriend), Jason (Kadiff Kirwan) getting him involved in a failed bank robbery. These two unlikely friends are now forced to spend all of their time together, as a result of sharing a cell, and simultaneously try to keep their heads down as well as ending up on the frontline of all manners of trouble.

Luke, or “Lulu”, as Jason calls him, is your typical antihero. He is meek and frustratingly stubborn, but an increasingly likeable character nonetheless. Jason, on the other hand, is an endearing idiot, who we can forgive for all his wrongs because he is oblivious, and very funny as a result. It’s fair to say that Luke and Jason are unlikely protagonists, their personalities are polar opposites and they bicker like an old married couple.

A hilarious backstory between prison officers Dawn (Cariad Lloyd) and Creg (Ricky Champ) provides a refreshing side-narrative that develops with each episode. Creg’s incessant stalking of Dawn also adds a sinister element to Crims, and, mark my love of shows like The Mighty Boosh, Snuff Box and The League of Gentlemen, you can see why I’m a fan.

The writing from Adam Kay and Dan Swimer is excellent; the characters come together effortlessly and there is no room for boredom in a jam-packed 30 minute episode. Crims has a brilliant cast, including Theo Barklem-Biggs as Twilight-obsessed thug, Marcel, Ed Kear as ‘Black Elton John’, Selom Awadzi as Daz, and Jamal Hadjkura as the prison-snitch, Isaac. And appearances from the likes of the fantastic Tracy Ann-Oberman and Sylvester Mccoy make a great addition to the cast too.

This brand new sitcom has proven itself to be highly original, witty and accessible, and I hope there are more series to come.

Not Going Out came to its conclusion in December, and has been consistent and homely viewing, with frequent laughs at the characters’ expense. It is silly, frustratingly painful watching (the protagonists get it so wrong every single time) and very rude.

The characters are all familiar by now; we know when Lee is going to do something stupid, or when Frank is going to arrive out of nowhere, or when Daisy is going to say something entirely moronic, and that is all part of the charm. Lee’s dysfunctional family and friends become our own family and friends and it feels like they have truly earned a place in our homes after all these years.

Mack’s vast quantity of gags and puns continue to fill the space that Tim Vine left behind back in 2012, but that doesn’t mean Vine isn’t missed. A new addition to the programme, however, has been that of Hugh Dennis (Outnumbered) who plays Lee and Lucy’s new neighbour, Toby. The introduction of Toby in series 7 has allowed the character dynamics to be balanced with his level-headed presence, in predictable and typical Dennis-style.

A highlight of this series had to be episode five, Pointless (see above link), which featured appearances from both Alexander Armstrong and Richard Osman, who stepped up to the job with apparent ease.

I won’t spoil the ending of the series, but I will say that it ended in typical Not Going Out style (though with the addition of something all concluding sitcoms seem to be doing these days: showing cringeworthy flashbacks of the famous moments from past episodes within the final scenes of the last show). All the memorable characters from the past eight years came together, including Tim Vine which was a delight.

I will always enjoy watching reruns of Not Going Out, but I have to say I felt it reached its natural conclusion here and I am glad it wasn’t stretched any further. Lee Mack’s brilliant comic writing has provided us with years of quality family entertainment and I look forward to seeing what he goes on to write in the future.

The League of Gentlemen is a dark comedy classic, full of hideous characters and disturbing events. It is often a very difficult show to watch, if not only for the sheer number of times we must see Mark Gatiss die in the most brutal of ways. That would be pretty traumatic for anyone.

Royston Vasey is a place for misfits; a place for the flawed, the unsettled and the peculiar. It is obvious when there is an intruder in the village, and we all know what happens to intruders, to un-locals. From the iconic married couple: Tubbs and Edward, who insist that their shop is a “local shop for local people”, to the patronising head of the Job Centre: Pauline (who would have guessed that Steve Pemberton would make such a wonderful woman?), The League of Gentlemen covers a wide range of characters and sketches.

There is one advantage to being fifteen years late watching this programme and that is that I can clearly see how it has influenced, and shares similarities of, our British comedy culture today, especially shows like Little Britain and The Mighty Boosh. Another development that should be clear to today’s viewers is that of Inside No. 9: the most recent work from Shearsmith and Pemberton, and another dark and twisted comedy delight.

It is clear that a huge amount of care and general hard graft went into the making of this programme and this is evident in the fragments between sketches, such as posters for crazy things like missing fingers and downright disgusting things like an exploded tortoise stuck to the roof of a taxi. The camera work is wonderful at sweepingly through the village and showing some of the various absurd places and people.

The League of Gentlemen is a programme that no comedy-lover should miss, though I expect most people haven’t missed it at all; it was only I who was stupid enough to do that.

I wrote a post towards the end of July reflecting on the first episode of Noel Fielding’s Luxury Comedy: Tales from Painted Hawaii (series two) but this series has been so dense with artistic talent and clear passion, that I couldn’t possibly not revisit it after all five episodes.

It’s no secret that I am a massive fan of Noel Fielding and his work, so was obviously hugely excited that the long-anticipated second series had finally arrived. These episodes have taken a long time to produce because they are one of a kind; the process of making them seems to be more rigorous than that of various other Sitcom style shows. Love Luxury Comedy or hate it, it is impossible to deny that the makers of this show have presented their audience with great innovation: with the bright and complex animation from Nigel Coan; an eccentric soundtrack from Fielding and Kasabian‘s Serge Pizzorno; along with brilliantly intricate set and costume design from James Dillon and Ameena Kara Callender.

As well as the obvious beauty and detail involved in the visuals of Luxury Comedy, the stories are also packed full of references to art and literary culture such as Andy Warhol (of course), George Orwell and Yoko Ono. This alone is proof for me that the makers of Luxury Comedy have not been lazy during the creative process: every scene is punchy, a little bit mad, but also intelligent.

Watchers of series one who weren’t impressed may be pleased to know that this series is a lot more relatable for audiences, with occasional cynical statements that can catch you off guard.

Smooth: “What do you do to escape?”

Reality Man: “Panel shows. What’s funnier than five men in shiny shirts taking a side-ways look at the week’s news?”

In this way, I think this series is a lot more self-aware, in fact, one episode even focuses on the idea of the show only having one viewer (a Brummie named Terry, played by Steve Oram) and the fact that they must save him from certain death.

In addition to the lovely Noel, the show is full of immense comedic talents such as his Mighty Booshco-stars (Dave Brown, Rich Fulcher, Richard Ayoade,Simon Farnaby and Tom Meeten) and of course, the delightful star ofDoll & Em: Dolly Wellsand Tom Meeten’s partner-in-crime: Steve Oram (Sightseers).

I would have to say that this programme is probably one of my favourites to ever appear on television, particularly this new series. It appeals to all of my interests: comedy, music and art (and Noel Fielding of course) but most importantly of all: Luxury Comedy is a source of inspiration to me. Every aspect screams quality and I sincerely hope the show and its creators flourish in the coming months as a result.

The whole of Noel Fielding’s Luxury Comedy: Tales From Painted Hawaii is available on 4OD.